Analysis of the editions of Râst Kâr-ı Nâtıkattributed to Hammâmîzâde İsmâil Dede Efendi's

In this study, Kâr-ı Nâtık composed by Hammâmîzâde İsmâil Dede Efendi (1778- 1846), one of the greatest figures of Classical Turkish Music, in Râst makam and Yuruk Semâî tempo has been examined. Kâr-ı Nâtık, which contains 24 modes in 12 couplets, has been analyzed in terms of mode and rhythm in OMAR and Dârü'l elhân copies, comparatively. In the introduction part of the study, firstly, the origin and development of Classical Turkish Music is mentioned. Later, the artistic life and works of Dede Efendi, who is the composer of the work examined, are mentioned, and brief information is given about the Kâr-ı Nâtık form in order to make the work more understandable. In this study, in the OMAR and Dârü'l-elhân copies of Râst Kâr-ı Nâtık; Qualitative research and scanning model was used in order to investigate what the similarities and differences are or whether there are in terms of lyrics, maqam and rhythm. The notes in the compared copies were recorded again in the computer environment by using the finale note writing program. While examining the work in terms of mode, firstly Dede Efendi's contemporaries and XVIII. The maqam descriptions of Hızır Ağa, Tanbûri Küçük Artin, Abdülbâki Nâsır Dede and Hâşim Bey, who are among the 19th century theorists, are included. Afterwards, the maqam navigation process and the frets used in the compared copies of Kâr-ı Nâtık (OMAR, Dârü'l-elhân) with the descriptions discussed were compared thanks to the double template. In the tempo meter analysis of the work composed in the meter of "Müfte'ilün Müfte'ilün Müfte'ilâtün", in order to reveal the differences in the distribution of the lyrics in the two copies, the pattern-mesûl patterns were created and interpreted. The findings obtained as a result of the analyzes were evaluated and the consistency of the compared copies in terms of today's maqam education and performance conditions was mentioned in the results section.